1636—Seville, Spain: Organist, composer, and theorist Francisco Correa de Arauxo makes the following comment in his treatise, Facultad orgánica, in regard to a trombone-playing colleague: “There was in that holy church in Seville a trombone [sacabuche] player named Gregorio de Lozoya, a man remarkable in knowledge and especially in skill of embellishing on this instrument. One critic said of him that he had ruined [echado a perder] many trombone players of his time, because in imitating his embellishments they revealed faults that they hid [when] playing quietly; that is, plainly [unembellished]” (Lash 218-219; Jacobs, Francisco Correa 4).